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  • Title : Solidification
    Artist : Yongju Kwon
    Curator : Sunghee Lee
    Exhibition Period : August 29, 2016 (Mon) - October 2, 2016 (Sun)
    Opening Reception : August 29, 2016 (Mon), 6pm
    Venue : Art Space Pool, Seoul, Korea
    Exhibition Times : 10am ~ 6pm (closed on Mondays)
    Support : Arts Council Korea
    Aesthetics of an exquisite (manmade) view
    Seokbujak / Solidification /石附作
    The “rocks” [seok, 石] in Yongju Kwon’s works are not inherently solid. They are, in fact, amalgamations of different objects that have been coated with cement. They were made solid through a process of “solidification.” It entails a process of “mount”-ing [bu, 附] plants onto the rocks and looking after them so that they take root and grow. In other words, this process of mixing artificial materials and manmade nature and the process of “create” (ing) [jak, 作] reflect the progression by which Yongju Kwon’s solo exhibition came to bear the title and theme of “Solidification.” The title further refers to the artist’s methodology and approach of translating a spontaneous, temporary, and ongoing state of flux into concrete works of art. Lastly, it recalls the artist’s discomfort and struggle with stasis and established patterns in his work as he continuously develops his art practice.
    Recently, Yongju Kwon has attempted to reinterpret the activity of seokbujak [mounting on orchid rocks], a hobby in which one seeks to build communion with miniaturized pseudo-nature by transplanting plants such as moss, Aerides orchids, and wild flowers onto a natural-looking stone and caring for them. Kwon produces the works as follows: he applies cement onto prepared objects such as chunks of cement, egg cartons, waste paper, a mop, and the upper part of a broom, then he sprays water to create the shape of a rugged cliff, and finally he attaches Aerides orchids (which are accustomed to living in harsh environments like cliffs) onto the pseudo-cliff and carefully nurtures them so that they take root and grow. As manifested in this process of production, Kwon’s integration of work, hobby, and play carries with it a certain appeal. Naturally, Mounting on Rocks is made with a humorous touch. The mise-en-scene of cement mountains gently placed onto the heads of a mop and a broom, and the Aerides orchids together with them, is somehow silly, while a set of cement mountains protruding over entangled wires among the Aerides orchids is similarly ludicrous, and the rugged cliff made from recycled waste paper roughly tied with wrapping twine and with only one side covered with cement is absurd. However, at the same time, these unexpected scenes spur viewers to imagine what lies beyond the crests of the mountains. I assume this is what Kwon meant by “the function as a portal that makes an exquisite perspective (fantasy-paradise) out of a small-scale landscape, at least in one’s imagination.” Mounting on Rocks (2016) represents a breakthrough that enables Kwon to explore the familiar theme of the overlap between art and livelihood with a refreshingly different approach, and it also provides a clue as to how the artist exorcised the stagnant (or solidified) thoughts that occupied him at one time.
    Yongju Kwon first began to present artworks in the art field in the late 2000s, and he has constructed his world of art over the past 10 years while managing his endeavors between his two identities as an artist and a worker. However, in most cases, he deliberately avoids dealing with the labor of art, or the artist’s labor. Rather, his works address the process of executing and reinforcing his different (yet indivisible) identities as a worker, maker, and exhibition technician. No matter how hard Kwon may try to resist this, the techniques he acquired in the course of the labor he performed to sustain his livelihood are already embedded in him and applied in his artwork. Such experiences have so deeply influenced his thoughts that it often seems that Kwon thinks and acts as a “worker.” This time, Yongju Kwon’s solo exhibition is designed to facilitate a loose dialogue among his works created as a result his vivid life experiences, and to trace the narratives generated by these works.
    In order to make shapes, Kwon draws things out: things that hide well via a polished surface (i.e., a visual sleight of hand), and things that are normally hidden under a polished surface (e.g., miscellaneous rubbish and construction materials). Kwon’s sculptural installation works take shape by chance with things that are abandoned or will be abandoned, or with things that exist for the sake of a process—not its outcome—and that will eventually be concealed. His works embody the precarious lives of urban, working-class individuals and the imperfect reality that all of us belong to.
    At one corner of the exhibition space is We Will Meet at the Top (2009), where a cement mountain with the shape of a crater has been placed in the center, and a picture of Baekdusan Mountain, a souvenir photograph, and a snapshot of a random place in a town hang from the wall. Kwon commented on how the puddle for the cement mixture at a construction site inspired him to make the crater of Baekdusan Mountain: “At that time, for an entire year, I had a job that needed me to work with cement. I had to make the puddle of cement every day, and that experience led me to adopt a similar shape and material for my work.” Yet the title of the work is ironic, as “We will meet at the top” is sheer magniloquence: the crater of the cement mountain that he produced is too damp to step on, and the top of Baekdusan Mountain—what the installation aims to emulate—is something that is both physically and ideologically difficult to reach. “Later we will meet at the top” is actually a trite and vapid expression favored by pretentious young men, especially when they are inebriated at parties. Similar to how the expression is empty, the title itself floats meaninglessly in the air when it encounters the reality of this work. And nearby, is Better a Live Coward than a Dead Hero (2009). Still primarily working with cement, Kwon utilized ready-made cement blocks instead of cement powder. Inscribed in block letters into the cement block is the Korean translation of the proverb, “Better a Live Coward than a Dead Hero,” which literally translates into Korean as: “Better to roll around in a field of shit while alive, in this world.” The space that exists between the English proverb and the Korean translation exposes a subtle but meaningful divergence in the rationales for living vs. mere survival. And it echoes a certain resignation about the futility of human ambition that one senses in the inaccessible peak of We Will Meet at the Top.
    Among Kwon’s works is a type of work deriving from the various types of labor that the artist has himself performed. Some examples are Mounting on Rocks, We Will Meet at the Top, Better a Live Coward than a Dead Hero, and a series of works—which were not selected for this exhibition at Art Space Pool—comprising a pseudo-rock of Styrofoam, a gravestone, and a signboard onto which phrases are inscribed. Yet another type of Kwon’s works is one that contemplates the real world of labor, like Tying (2013/2016). In the next exhibition area, the viewer faces an installation of fluorescent dyed yarn in a space that has the atmosphere of a shabby small-scale domestic production site. Traversing through different spaces and times is a cross-edited video interview with the artist’s mother, who speaks in a reminiscent yet dry tone about her youth spent working at a textile factory, and with a textile factory worker in Thailand. While a sense of lyricism in the air at the Art Space Pool exhibition space leads viewers to associate the space with the textile factory from the memories of the artist’s mother, the video depicts the repetitive movements of a machine in an almost workerless factory. A silk cloth produced by the automatic machine in the video hangs from the ceiling to the floor in the exhibition hall, and the will to survive referenced in the phrase weaved into the silk cloth—“Dragged and left alone in a gravel field, you will live on, even in a vast field of sand, you will lay the cornerstone to build a house…”—is more driven and poignant than the implied hesitation of the proverb, “Better a live coward than a dead hero.” Installed in a small room in a corner of the exhibition space, Underground Sewing Factory amplifies the lyricism and nostalgia that one senses in the yarn installation in Tying and pushes it further to the point of fantasy. It could be that what Kwon seeks to deliver is a sense of hopefulness. Just like the mundane objects used in Underground Sewing Factory (including *a bowl of water, pieces of glass, and a mirror) create rainbows when struck by rays of light passing through the window, a ray of light will shine on a life fraught with adversity.
    Entering the underground space in the building next door, the viewer encounters Waterfall (2016), a scene that appears to intermix a construction site and a manmade waterfall in the city.Yongju Kwon has produced six or seven different versions of Waterfall since Waterfall_Structure of Survival, which he exhibited at his 2011 solo show at Seoul Art Space Mullae. Waterfall, installed in Art Space Pool’s underground courtyard, has been realized in a form that reduces the work to its basic elements, making it most similar to the rough drawings of imaginary recreational facilities in the city that the artist made when he first conceived the Waterfall series. The previous works in the Waterfall series revolved around two opposing forces: one, the structure itself that maximizes the materiality of the work as a whole by using miscellaneous objects like recyclable materials and waste materials; the other, the force of the falling water that negates this maximized materiality. However, the Waterfall installed in Art Space Pool distinguishes itself from the previous works in the series by the way it is produced. Wooden panels are measured and cut according to the rough sketch so as to represent the two-dimensionality of the drawing, and subsequently the panels are set upright in layers of two or three to make a wall. The panels are covered with blue tarpaulin and tied together with industrial rubber cord. The scene actually resembles one that you might see in the corner of a construction site, where construction materials are either kept separately in order to protect them from the elements or are covered and bound tightly when loaded on a truck. If the previous versions revealed the objects that could lay under the blue tarpaulin, this one covers these objects to achieve the aesthetics of an exquisite (manmade) view evoking the shape of a mountain and rugged cliffs similar to those in Mounting on Rocks. Perhaps because its familiarity recalls the scene of the construction site, Kwon’s manmade Waterfall somehow feels more natural and realistic than the artificial waterfalls in urban settings that imitate the exquisite views found in (real) nature. A video projected from the small screen on the table installed in front of the waterfall depicts scenes of falling water made in earlier works in the Waterfall series.
    Through the miniature landscapes of Mounting on Rocks, Kwon seeks to convey the concept of a “portal”—an exquisite perspective, or what he calls a “fantasy-paradise” in the world of one’s imagination. The viewer encounters another jarring “portal” in Waterfall due to the supposedly realistic yet actually manmade landscape created by the familiar unfamiliarity of the manmade blue waterfall and the video of artificial scenery displayed on the small video screen. The contrasts and contradictions of these “portals”—reality vs. paradise, manmade vs. imagination,natural vs. artificial, rawness vs. refinement, solidification vs. fluidity—reach an unexpected yet striking visual climax when one sits in Pool’s underground courtyard and catches a fleeting glimpse of the rich late afternoon sunlight hitting the glossy blue tarpaulin. In the space of a moment, it is an exquisite window to another world. Given the opportunity, I would suggest that you take a rest downstairs for a quiet moment and see for yourself.
    Sunghee Lee, Director, Art Space Pool



  • 'Art and Work' is a study group of artists and curators that had gathered in Art Space Pool during the past 6 months. While reflecting on the topography of art and social environment in which 'art workers like ourselves' are living, we have planned projects to work on together. By contemplating on various issues such as contemporary 'social art', art and labor, web environment culture theory, open source and copyright, website building skills, we are in the process of preparing the big frame for a new website that operates through 'technology'. We have created the platform as a public symposium to share what the 'Art and Work' community has come up with. Anyone with an interest is welcome to participate.
    * The symposium discussions will be published and distributed.
    ◆ Program of the Symposium
        1. Used-up Alternatives and 'Art and Work' /  Eunbi Jo
        2. Gendered Web Territory, Struggle of the 'Female Maniac League'
           / Sooyoung Kim
        3. Do-it-yourself x Open Source / Dayeong Choi
        4. Telekommunist Manifesto, the Making of the Artists' Sharing Domain
           / Donghyun Gwon
        5. Proposing a Technology Knowledge Website / Dongkyu Kim
    ◆ Members: Donghyun Gwon, Dongkyu Kim, Sooyoung Kim, Ikkyun Shin,
                       Jiwon Lee, Yongsuk Jeon, Eunbi Jo, Narae Jin, Dayeong Choi
    ◆ Date: 30thNovember, 2014(Sun) 4-6pm
    ◆ Venue: Art Space Pool(Segeomjeong-ro, 9-gil 91-5, Jongno-gu, Seoul)
    ◆ Contact: 02-396-4805 / (Please contact us for
                      participation until midnight, 29thof November.)
    ◆ Host: Art Space Pool, Art and Work
    ◆ Organizer: Korean Artists Welfare Foundation
    ◆ Sponsor: Ministry of Culture, Sports and Tourism
    ≪Preface, Art and Work Document≫  
    ‘Art and Work’ is the name of a study group composed of 9 young artists and curators who had gathered in Art Space Pool during the past 6 months. While reflecting on the topography of art and social environment in which 'art workers like ourselves' are living, the members of the group have planned projects to work on together. Alternative space and the flow of public art, art and labor, feminism, culture theories surrounding 'surplus' and the Web, the birth of Web and its development, website building skills, and technoculturecriticism were the main themes that we have studied together. Along with the studies, we have continued our discussions on the building of a homepage 'operable' in the public realm of the art field. As the answer for the questions brought out from the notion of what surrounds art and oneself, 'Art and Work' decided to create a new website that operates through 'technology' in the broad sense.
    This document contains the various themes that were on the table of our study process, not without difficulties. There are 10 pieces contributed by members and the draft proposals of the website planning process.
    Eunbi Jo reveals the dilemmas and worries she had while working as curator of an alternative space, under the title 'Used-up Alternatives and Art and Work'. Analyzing the issues unleashed by young artists and diagnosing the weakened state of 'alternative culture movement', she proposes opening a new 'ground' as a form of new existence. Dongkyu Kim's 'Professional and Layman, and (Non-)Professional' talks about the fundamental proposal for the artist's profession and social role, in a corner of the discourse on art and economy. Jiwon Lee expresses in ' and Work', what she felt as administrative manager of Art Space Pool while hosting the study group program, the issues of reality in 'work environment' in the broad sense. Sooyoung Kim begins with the  'discourse of surplus' which arose based on the phenomenon of web culture and explains the process of a certain web territory relating with reality through the example of a certain fandom case in 'Gendered Web Territory, Struggle of the Female Maniac League'.
    Narae Jin who works on collage-writing works, attempts to perform acrobatic expression in between the 'total crisis' situation as an artist living under neo-liberalistic conditions. 'Total Crisis, and Zig-Zag' tells the chain of worries that were created during the process. Dayeong Choi's  'Do-it-yourself x Open Source' presents the notion of Open Source, as the basis to expand the discussion on our material condition and realization onto the horizon of the Web. Major notions of sharing culture based on open source and the ideals of the Web are dealt with. Donghyun Gwon introduces the discourses in Dmytri Kleiner's 'The Telekommunist Manifesto' and talks about guidelines for leftist actions on the Web to resist the reality where the past Web values of 'common production and sharing' are eaten up by capitalism. Furthermore, continuing in the line of multi-layered discussions about copyright issues of creative labor, Gwon proposes ideas for 'Creating Artists' Sharing Domain' on the Web. Ikkyun Shin's Essay on 'Production-Technology' is a description of technical know-how that the author obtained first-hand during the process of production; it portrays the technical aspect which comprises the work of an artist. It is one of the examples of showing technical know-how in the broad sense that are expected to be shared through the website.
    Finally, you can find the blueprint of the website which will be operated based on the technology that suggests. Following Dongkyu Kim's contribution on the meaning of 'technology' understood by artists encountering the media environment and his expectations toward the experience of achievement enabled by 'sharing' technology, draft proposals of the website are presented. After numerous meetings, some ideas were accepted or omitted for various reasons during the planning of the identity of the website.
    This document assembles the itinerary of the study group which approached the issues in multi-facets in order to solve 'my' problem, or to find the 'engine power' that would boost energy in the lethargic art field. We hope these contributions will become the foundation stones for the upcoming website and more concrete discussions in the next step.


  • I. Project Descriptions
    INTERFERENCE is a 3 year (2010-12) research and development project that will result in a modern and contemporary Korean art criticism text archive, initiated by Art Space Pool, and developed in collaboration with Asia Art Archive (AAA) in Hong Kong as a contribution to the anthology project.
    . Project Objectives
    An archive, in any field, at any degree of specialty, is a starting, ending, and returning point of all activity. In exchange and collaboration between regions in art, an archive is a window, map and mirror of the regional context providing a general frame of reference throughout the whole course of inter-regional communication. Korean art, in this regard, has been exposed to the international art scene, only as temporary data, objects, and phenomena scattered around, rarely buttressed by the backbone of an archive, which functions to make the vibrant aesthetic narratives of the region like a myriad of dots in nowhere. aims to create the kind of archival content that includes information that is structured as a specific archive, rich with contextual knowledge, accessible to international viewers. as an archive will strategically focus upon art criticism texts, because art criticism is one of the best elements providing an overview of the intellectual history of the context of art in the region and at the same time, to facilitate contemporary utilization of the knowledge for various forms of application in art.
    An archive should be an open platform allowing and provoking interaction with itself, unless it wants to remain an archaic monument. An archive of art criticism texts particularly risks falling into the pitfall of prestigious historiography or art historical dictionary book. will be an archive with productive relevance to contemporary art practices, built by those who practice in the field on the border between global and local. The editorial board of this project should be those who are active both in and out of the local and global contemporary art scenes; and who maintain dual careers as critics and curators. Board members are responsible for building a bibliography of candidate’s texts; setting up a structure among the criticism according to the criterion of his/her perspective and selecting final texts; and writing a new essay about his/her selections. is a combination of an historical archive and a contemporary archive of new commissioned writings by multiple writers. In the end, builds an archive and interferes with the stolid ground of the archive by expanding a single historiographic narrative into a dynamic configuration of multiple perspectives.
    . Project Line-up
    - Project Director: Heejin Kim (Director of Art Space Pool)
    - Project Curator & Editor: Yumi Kang (2012 Program, Independent Editor)
    - Project Curators: Sohyun Ahn (2011 Program, Independent Curator)
                                      Jinjoo Kim (2010 Program, Independent Curator)
    - Project Coordinator: Jiyoung Jung
    - Editorial Board:
      Kim Jong-gil (Curator of The Gyeonggi Museum of Modern Art)
      Hyunjin Kim (Independent Curator, Curator of 2008 Gwangju Biennale)
      Sohyun Ahn (Curator of Nam June Paik Art Center)
      Binna Choi (Director of CASCO Office for Art, Design and Theory)
      Seewon Hyun (Independent Curator, Art Theory)
    - Proofread & Review : Kil Ye-kyung (Freelance Art Translator)
    - Research Fellow: Sunghee Lee (AAA Researcher for Korea)
    - Sponsors: Arts Council Korea (2010-2012)
                           Seoul Foundation (2010)
                           Foundation for Arts Initiatives (2012)
    - Collaborating Partners: Asia Art Archive
    Comparative Contemporaries (A Web Anthology Project) by Asia Art Archive, Hong Kong & The Substation, Singapore
    . Project Timeline
    - Jan. – July 2012
    Conceptual Digest of the Archive by Researchers
    Copyright Clearance for Publication
    Text to Digital Conversion
    - Aug. – Oct. 2012
    English Translation of Highlighted Texts & 4 New Meta-Criticism Texts
    - Oct. – Dec. 2012
    Book Design and Book Launch (published by ‘forum a’, Seoul, Korea)
    AAA Online Launch at
    Public Lecture Series <Pulse of Conflicts> (5 Sessions)


  • Publisher Forum A announces the publication of the book Trans-Theatre, produced in conjunction with siren eun young jung's 2015 solo exhibition Trans-Theatre that took place at Art Space Pool, Seoul. This book represents the culmination of the artist's Yeoseong Gukgeuk Project, which she carried out over a period of 7 years, from 2008 to 2015. Yeoseong gukgeuk is a genre of Korean opera and musical theatre performed exclusively by women. It emerged in the late 1940s and became a popular performance genre in the 1950s post-Korean War period.
    The book Trans-Theatre incorporates texts extracted and modified from the artist's doctoral thesis, "The Politics of Gender and the Aesthetics of Dissensus: With a Focus on the Yeoseong Gukgeuk Project," and they discuss not only a brief history of yeoseong gukgeuk but also its socio-political context-one that spurred the development of this subject into an art project-through the lens of the relationships between yeoseong gukgeuk and performance theory and gender politics. Furthermore, texts authored by an aesthetics scholar, curator, gender researcher, and art critic attempt to analyze and evaluate Yeoseong Gukgeuk Project from diverse perspectives that examine the project's contexts, concepts, media, sentiments, and positions, among other facets. Last but not least, the book includes multiple exhibition views of the Trans-Theatre exhibition, cherished photos from yeoseong gukgeuk performers' personal albums, and captivating scenes from Yeoseong Gukgeuk Project's performances and exhibitions.
    Publisher: Forum A
    Texts: siren eun young jung, Hyosil Yang, Young Ok Kim, Tari Young-jung Na, Haejin Pahng, Sohyun Ahn
    Translation: Soo Ryon Yoon, Jiwon Yu, Sunghee Lee
    Editorial Supervision: Sohyun Ahn
    English Proofreading: Joseph Fungsang, Sunghee Lee
    Design: Hyejin Yeo
    Photography: Sang Tae Kim, Cheongjin Keem, Gim Ikhun, Cheolki Hong
    Printing: Munsung Printing
    Supported by: Ministry of Culture, Sports and Tourism, Korea Arts Management Service, Sindoh Artist Support Program, Seoul Foundation for Arts and Culture, Margaret W. Wong & Associates LLC, Art Space Pool, Forum A
    Price: KRW 25,000 / USD 25

Gugi salon

  • Pool Public
    With an in-depthperspective to the public, Art Space Pool starts a new business, Pool Public and Pool Edition, to create a new 'art public', diversify art market, and construct local cultural environment.
    Pool Public aims to circulate, bridge artworks in community and build local culturalenvironment by partnership with prominent professionals from a private art scene. For an efficient process and management of the project, Pool Public focuses on core contents selected by a prudent evaluation, without making any affiliation with other relevant institutions. More importantly, Pool Public presents Pool Edition which is a closed collection of artists and artworks as well as its management business.
    We expect Pool Public to be a channel actively used among private culture supporters, not relying on system-led enlightenment campaigns or volunteer works. Also, we believe any place where those who love art and culture meet and interact will become the ‘Art Town(art community)’.
    Weask your continuous interests and supports toward Pool Public’s throughout the year of 2013.
    Pool Public
    Date : 15. Feb. 2013 – 30. Apr. 2013
    Location : Café Eungabi
    Address : 241-1 Shinyoungdong Jongnogu (heading Gugi tunnel from Sinyoung Samgeori, next to Kookmin bank Segumjung branch)
    Opening Hour : Mon-Fri (09:00-20:00), Sat-Sun (11:00-20:00)
    Contact : 02)394-0507
    * parking space available in the rear of the building
    Followed by Itaewon CCUULL and CCUULL POOL which will be closed in March, 2013, the first public program, , is launched in Gugidong where the Pool headquarter is located. The current project is initiated by a call from a couple who has a café named Eungabi having lived in Gugidong for about 6 years. The couple invited us to change their cafe into a gallery café. Now Pool is introducing ‘Pool Edition(an artist and artworks)’ with two months circulation at café Eungabi gladly offering a space as a Pool’s partner. Meanwhile Pool is now attempting to meet various art community of Buamdong-Pyeonchangdong-Gugidong neighborhood where has been attended to as a cultural and national park area in Sadaemoon(the four main gates in Seoul). As the first showcase of the project, we present 11 artworks of An Gyungsu.
    Artist : An Gyungsu (1975, based in Seoul), BFA Oriental Painting, Dangook University. MFA Oriental Painting, Hongik University. Joongang Fine Arts Prize-Excellence award. SongEun Art Award-Participation award.


  • Where the ends meet

    2013. 11. 28 - 2014. 01. 05

    Galerie Houg Art Contemporain, Lyon (43 Rue Auguste Comt 69002 lyon)
    Commisaire d'exposition Heejin KIM
    Young Min MOON
    siren eun young jung
    Sangdon KIM
    RHO Jae Oon

    L’exposition présente une vingtaine d’oeuvres des 6 artistes contemporains coréens les plus actifs à ce jour, en Corée et à l’étranger. Ces oeuvres sont nées des interrogations portées sur la civilisation matérialiste moderne et la sagesse humaine, rapport brutalement remis en lumière après la catastrophe de Fukushima, ainsi que d’une remise en question de la conscience sociale sur la situation géopolitique dans laquelle la Corée se trouve actuellement. L’art coréen, doté d’un caractère original, occupe une place particulière dans le paysage artistique est-asiatique. Alors que d’ordinaire les arts du continent asiatique se reflètent par un mélange des liens étroits qu’ils possèdent avec la tradition et de l’essence des sociétés contemporaines, la Corée, de par le conflit idéologique qui la divise depuis les années 50, puise dans la politique moderne une inspiration majeure, véritable source de création artistique. Surtout ce pays où coexistent le paradigme idéologique du siècle dernier et la haute technologie du futur, l’idéalisme féodal et l’industrie globale de hallyu*, la course à la vitesse et la division territoriale, la mémoire du colonialisme et la modernisation hâtive pourrait être considéré comme l’un des carrefours où se font face d’une manière extrême tous les désirs humains fondamentaux. 


    A cela s’ajoute une réflexion sur l’orgueil de la civilisation humaine et la fausse conscience de l’homme, réflexion faite par les témoins de cette catastrophe nucléaire et du désastre naturel qui a bouleversé terre et mer. Leur pensée sur la civilisation matérialiste parvient à convoquer les valeurs morales essentielles, certes ternies dans le monde moderne, mais qui subsistent en tant que formes et icônes. Ces artistes redécouvrent les signes et symboles moraux dans la vie quotidienne contemporaine et les reconstruisent dans un contexte nouveau. 


    Qu’est-ce que le respect ? Qu’est-ce que la sublimité de la nature qui peut provoquer jusqu’à l’oubli de soi ? Quelle illumination métaphysique apporte sur notre quotidien la vie et la mort ? Que sont l’élégance et la justice ? Dans leurs oeuvres, nous pourrons découvrir ces pensées philosophiques et anthropologiques, intrinsèquement liées à notre réalité. 


    Bien que cette exploration de l’art contemporain coréen puisse paraître comme un idéalisme métaphysique, du point de vue plastique, il garde cependant sa vitalité et sa jovialité, de par son ironie, son imagination auto-référentielle excentrique et sa conscience dynamique de la réalité : re-fabriquer les symboles mythiques à partir des matériaux quotidiens, redécouvrir le merveilleux de la nature par l’intermédiaire du cinéma, ou encore réapprendre la posture héroïque dans une répétition théâtrale. Si la dimension conceptuelle des oeuvres se développe d’une manière complexe dans une structure fléchie à plusieurs plis, au niveau plastique, l’ «idée » métaphysique et le quotidien concret se confrontent d’une manière « funky » et tangible. Tout en se basant sur l’attitude éthique qui permet de redécouvrir les nobles valeurs morales, elles font preuve de franchise anti-autoritaire en se permettant l’audace de les exprimer dans une grammaire quotidienne, dans un système de pensée original qui articule corps-sensation-média-quotidien d’une façon synthétique. 


    * La Hallyu est une vague culturelle d’origine sud-coréenne. Elle fut tout particulièrement connue en Chine à partir du début des années 1990. Leterme fut popularisé par les médias de Pékin en référence à la rapidité de diffusion de la culture sud-coréenne du divertissement. Que ce soit au niveaunational ou supra-national, les téléséries sud-coréennes abordent généralement des thèmes universels tels l’amour, la famille ou la piété filiale dansun contexte de chamboulement technologiques et de valeurs. Le recours à la violence et les références à la sexualité y sont généralement très limitées.


    Curatée par Mme Heejin KIM (Director of Art Space Pool)

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The website production was made possible by the patronage of Haegyu Yang.